Analysis of drawing, painting and composing (1904)
Moore, H. L · London : Printed by VIncent Brooks, Day & Son, Ltd. · leaf 164
egs in figure 6.The shield there is not evidently clear: nor does the bowand arrow exhibit much force in that position. Figure 9is more vigorous. The lines D to D, in 8, are good, and ifthe other knee there were raised a little the figures wouldbe well composed; but the line B to B/ is sprawling… … regardless of the character of line produced, and the effectof it on the rest of the design. Lines, like colours and lightand shade, affect one another by their juxtaposition andcombinings. A vigorous break in the line at one placemay be as advantageous as a sweeping connection atanother. Unity is…
Composition (Art) · Drawing · Painting
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